The Actor and the TextVirgin, 1992 - 303 páginas Cicely Berry, Voice Director of the Royal Shakespeare Company, is world-famous for her voice teaching. The Actor and the Text is her classic book, distilled from years of working with actors of the highest calibre. Building on the specific exercises covered in her first book, Voice and the Actor, Cicely Berry relates the practicality of voice production to the challenges of a different text. And by getting inside the words we use - whether those of Shakespeare or our contemporaries - she shows how to release their energy and excitement for an audience. |
Dentro del libro
Resultados 1-3 de 29
Página 21
... present in the words : The worst is not , So long as we can say " This is the worst ' . Edgar ― King Lear ... present language The fourth point I want to make is partly technical , and is to do with how we present language . It ties up ...
... present in the words : The worst is not , So long as we can say " This is the worst ' . Edgar ― King Lear ... present language The fourth point I want to make is partly technical , and is to do with how we present language . It ties up ...
Página 37
... present in ballads and the passing down of stories in verse form ; and this story element informs us how to present language . Every poet finds his own form , his own mixture if you like , but , however heightened the language , it is ...
... present in ballads and the passing down of stories in verse form ; and this story element informs us how to present language . Every poet finds his own form , his own mixture if you like , but , however heightened the language , it is ...
Página 189
... present , too ready : and what we have to realize is that a perspective is always there . We need to ' present ' and ' be ' at the same time . And the speaking can only be shallow if time is not given at the beginning to the nature of ...
... present , too ready : and what we have to realize is that a perspective is always there . We need to ' present ' and ' be ' at the same time . And the speaking can only be shallow if time is not given at the beginning to the nature of ...
Contenido
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Derechos de autor | |
Otras 10 secciones no mostradas
Otras ediciones - Ver todas
Términos y frases comunes
actor antithesis Antony Antony and Cleopatra audience aware Barnardo become beginning breath Caesar caesura character consonants Coriolanus Cressida Delroy dialogue Dingo doth emotional energy exercises feel give Hamlet happens hath hear heightened Hermia Iago iambic pentameter imagery important Julius Caesar Karn keep King Lear language Leontes listen look Love's Labour's Lost Macbeth meaning mememe metre mind Mogg move movement naturalistic night notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible reason rehearsal rhyme rhythm Richard Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress style syllables talking texture thee Theseus thing thou Troilus Troilus and Cressida verse voice vowels weight whole Winter's Tale words writing
Referencias a este libro
Script Analysis for Actors, Directors, and Designers James Michael Thomas Vista previa limitada - 2005 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Sin vista previa disponible - 2007 |